"Go, go, go to Seattle Opera’s production of Rossini’s The Barber of Seville!"- City Arts

"If Prince and Jim Morrison had a secret love child it would be John Moore playing Figaro in the opening night of Seattle Opera’s The Barber of Seville. He swings his long, curly, bad-boy rockstar hair around and preens. He brags about how everybody—guys and girls, young and old—wants him. He acts like he’s smarter than everyone else. But in the case of this opera, he actually is."- The Stranger

John Moore (Figaro). Philip Newton photo

"Musically it’s up there with (Seattle Opera's) best, with both singers and orchestra shining under maestro Giacomo Sagripanti; add to that the acting, the staging, the sets, costumes and lighting—they are marvelous."- City Arts

"Fomina displayed a stellar array of coloratura flights and high notes, along with plenty of charm; Liverman’s warm, agile baritone was enhanced by a suave and savvy stage presence." - The Seattle Times

"... Even if you think you don’t anything about opera, you do: You know this music." - The Stranger

"The main characters are all studies in perpetual motion, but it’s the servants Ambrogio (a non-singing role easily handled by Marc Kenison, aka Waxie Moon) and Berta (Margaret Gawrysiak) who almost steal the show, appearing in almost every scene dusting, sweeping and generally straightening up." - Seattle P.I.

"The action never stops. Flashing colored lights, doors and windows snapping open and slamming shut; singers leaping and bounding out of the wings and onto the stage, and streamers cascading downward in the grand finale."- The Seattle Times

"The music is funny too: excruciatingly quick sixteenth notes sung at breakneck speed by solos, duets, trios, and ensembles, and maddeningly fiddled by the orchestra, then borrowed by artists ranging from Bugs Bunny in 'The Rabbit of Seville' to the Beatles when they are trying to cut off Ringo’s ring in 'Help!' This opera is also where that 'Figaro! Figaro! Figaro!' thing comes from that Spongebob, Tom and Jerry, more Bugs Bunny, and doubtless other cartoons and parodies use."- The Stranger

"Highlights include: dorky white-guy dancing; Seattle boy-lesque performer Waxie Moon (in the non-singing part of servant Ambrogio) in cumulus-cloud muttonchops, who is at one point suspended upside down from a chandelier ... the set as mash-up of Pee Wee’s Playhouse, Laugh-In, and a slow-motion bad dream of a disco ball; the force of nature that is Daniel Sumegi’s (Don Basilio) bass; red streamers." - The Stranger

"Guitarist Michael Partington, who appeared on the stage to accompany key arias, gave the performances both musical expertise and genuine period flavor." - The Seattle Times

Kevin Glavin (Dr. Bartolo). Philip Newton photo

"Jonathan Dean’s supertitles echo the sassy nature of the production and the whole experience is sheer delight." - City Arts

"Saturday’s Rosina, fine Spanish soprano Sabina Puértolas making her Seattle Opera debut, is vivacious and spunky, easily a girl to catch the eye of the ardent Count Almaviva, high tenor Matthew Grills. The two singers flirt while engaging with ease in vocal acrobatics, nailing their bel canto arias. (Though Perhaps Grills’ most memorable moment is when, disguised as a fake music master, he gives a hilarious performance as accompanist on the harpsichord.)." - City Arts

Sabina Puértolas (Rosina). Philip Newton photo

"Daniel Pelzig’s Spanish-accented choreography and Matthew Marshall’s imaginative lighting enhanced the look of the show. The chorus, prepared by John Keene, looked snappy, and appeared to be having a terrific time. And so, judging from the applause levels, did the audiences." - The Seattle Times

"That’s one reason this would be a great show for a first-time opera-goer to try. But actually, anyone who likes spectacle will be wowed by this co-production between Seattle Opera, Opera Queensland, and New Zealand Opera. (Thank you, Aiden Lang, for connecting Seattle Opera with Down Under.)" - The Stranger

Seattle Opera presents The Barber of Seville. Philip Newton photo

"The music is glorious, arguably the most familiar and accessible in the entire opera canon; the story is as silly – and outdated – as they come but in the midst of such merriment and energy, not to mention the beautiful voices, who cares?"